From the Roman Praetorian Guard to the English shire-reeve to the U.S. marshals, lawmen have a long and varied history. At first, such groups were often corrupt, guilty of advancing a political agenda rather than protecting citizens. It was about the turn of the twentieth century that police officers as we know them came into being. At this time, a number of police reforms such as civil service and police unions were developed. Citizen committees were formed to oversee police function. About this same time, the technology of motion pictures was being advanced. Movies evolved from silent films with a limited budget and short running time to films with sound whose budget was ever rising and whose audience demanded longer, more complex story lines. From the infancy of moviemaking, lawmen of various types were popular subjects. Bounty hunters, sheriffs, private eyes, detectives and street officers - often portrayed by some of Hollywood's biggest names - have been depicted in every conceivable way. Compiled from a comprehensive examination of the material in question, this volume provides a critical-historical analysis of law enforcement in American cinema. From ""High Noon"" to ""The Empire Strikes Back"", it examines the police in their many incantations with emphasis on the ways in which lawmen are portrayed and how this portrayal changes over time. Each film discussed reveals something about society, subtly commenting on social conditions, racial issues and government interventions. Major historical events such as the Great Depression, World War II and the McCarthy trials find their way into many of these films. Significant film genres from science fiction to spaghetti western are represented. Films examined include ""Easy Street"" (1917), a nominal comedy starring Charlie Chaplin; ""Star Packer"", a 1934 John Wayne film; ""The Maltese Falcon"" (1941) with Humphrey Bogart; ""Dirty Harry"", a 1971 Clint Eastwood classic; Leslie Nielsen's spoof ""Naked Gun"" (1988); and 1993's ""Tombstone"" featuring Kurt Russell. The filmography contains a synopsis along with information on director, screenplay, starring actors and year of production. Photographs and an index are also included.

Martial arts have appeared in American movies since the days of Mr. Moto and Charlie Chan, but English-language martial arts films as a genre did not develop until the 1970s, with the breakthrough success of Bruce Lee's Enter the Dragon. They've since proliferated enormously, encompassing every level of filmmaking quality, employing every martial arts system known, and spawning a cadre of action superstars known for their ability to kick butt more than for their talent as actors. Low budgets, straight-to-video releases, and a lack of critical respect have not lessened their influence, and they remain hugely popular and continue to inform the work of the leading lights of American cinema, from Coppola to Stone to Tarantino. This history of American martial arts films, from major features to direct-to-video releases, examines English-language martial arts films in terms of both their historical development and their critical relevance. The first section describes the most common martial arts techniques, the history of martial arts in America, and gives a global overview of the history of martial arts films. Heavily illustrated chapters discuss early trend-setting movies, the first appearances of martial arts in American movies; the influence of Chinese kung fu film imports; martial arts on television and the films' proliferation; the explosive growth of the genre in the 80s; and recent releases, trends, and the direction of English-language martial arts movies. There is a selected filmography of 300 movies.